From the cover, THE AMERICAN SCREAM (not to be confused with the documentary about people who make haunted houses) looks like a straight up comedy. It does indeed have some goofy performances, ’80s-teen-sex-comedy style jokes and what seems like a loose, sloppy swing at some kind of mild satire, but I believe it’s genuinely trying to be scary too. I don’t think it’s successful at any of those things, but it has kind of a likable vibe to it that made me at least not hate it.
It’s about a suburban family, the Benzigers, but playing off the phrase “The American Dream” for the title is kind of an odd fit. It’s about them taking a vacation to some small, snowy mountain town around Christmas time. The parents, Barbara (Jennifer Darling) and Ben (Pons Maar) are goofy comedic characters, because the actors playing them are a couple of hams. Darling is primarily a voice actor (The Dukes, Poochie, Centurions, New Kids on the Block, the computer in DEMOLITION MAN, etc.) and Maar is kind of the opposite – a puppeteer and costume performer (he played Saurod the snake-man in MASTERS OF THE UNIVERSE, the lead Wheeler in RETURN TO OZ, best friend Roy on Dinosaurs, and the title dino in THEODORE REX).
THE MANGLER (1995) is a potent mix of silly Stephen King short story premise and unhinged Tobe Hooper fever dream. That means it has killer inanimate objects, but with the late Texas horror master’s sweaty, depraved lunatic tormenters stirred in like a salted caramel swirl.
I don’t know about you, but for me it’s hard to imagine a better sequel to 
TOBE HOOPER’S NIGHT TERRORS (or THE MARQUIS DE SADE’S NIGHT TERRORS according to the menu of the German DVD I watched – it’s VHS-only in the States) is a lesser known one from Hooper’s disreputable ’90s period. This was 1993, when he was doing alot of TV, but theatrical-movie-wise it came between 
I kind of want the CHUCKY cinematic saga to go on forever, or at least as long as Don Mancini wants to keep making them. He’s the guy who wrote the original script BLOOD BUDDY, that became 
In the ’80s, lots of people were trying to make Steven Spielberg movies. And obviously 
After two years I was finally starting to get used to a post-Wes Craven world – now all the sudden we Fangorians find ourselves heading into Fall minus George Romero and Tobe Hooper, two of the largest shadows in horror. Like Craven, both of them made an iconic horror classic early on, and remained primarily in the genre for their whole careers, delivering many other gems across multiple decades. Romero’s 
NIGHT OF THE COMET is like OMEGA MAN reborn as a vividly nineteen-eighties movie. To me it feels like a cousin of 
THE LEGEND OF BILLIE JEAN is a cool little 1985 stick-it-to-the-man teen feel-good movie that I think still has alot of relevance today. Helen Slater (
